violin strings, used and new, coiled on a workbench (Photo credit: Wikipedia)
Hello, today I am continuing with my series everything you need to know about violin from A-Z. Today we are on S for strings. A hundred years ago violin strings were made from sheep gut. First, you would have to take a newly killed sheep and disembowel it. You would have to stretch the intestines to their full 9 meters. You then had to knead out the offal by hand and soak the guts in water until they were soft and malleable. After that, you would strip and crush the guts and finally twist then into violin strings.
It was a disgusting painstaking job and thank heavens that era is behind us. Modern strings today are made with far easier and modern methods, although some players still use gut strings there are also now steel core strings and synthetic core strings. The type of strings you use will depend on the style of music that you play.
Gut strings today are not made entirely out of gut like in the old days; they are now wrapped with silver or copper wire which helps to stabilize the tone. Gut strings have a warm rich tone they take longer to stretch out than synthetics but once stretched out are generally quite stable. Gut strings are susceptible to bad weather and you will have to check the tuning of your violin if there is bad weather. Gut strings are generally used by violinists playing classical or baroque music.
Steel core strings are popular among non-classical players such as that playing country and bluegrass styles of music. Steel core strings have a very direct clear sound with few overtones. They also last longer and are mostly used for smaller or beginner instruments.
Synthetic core strings are made from synthetic materials such as high-tech nylons and composite materials they have the warm sound qualities of gut but are more stable in pitch.
Thicker strings give more volume and center tones, while thinner strings give brighter tones but less sustain.
There many things you can do to be a good singer and one of the most important things to do is to engage a good singing teacher. However, finding a good singing teacher can be a confusing affair.
Most singing teachers actually invent their own singing system and methodology to teach their students. Each method and singing technique will usually include vocal exercises, singing techniques, skills and concepts.
To add clutter to the confusion, there are many books and information and sometimes misinformation you can find in the libraries, music shops and on the internet. The most frustrating thing is that many of these products and books come with contradictory information.
With this abundance of information, you could be learning singing techniques that conflict with each other and this could be very detrimental to your singing support system and sometimes the damage done may be irreversible. Many exciting singing careers were destroyed because of learning wrong singing techniques.
Take a look at babies. They are breathing naturally with their diaphragm and they can throw their powerful voices across the room when they cry to get your notice. How can they project their voice so naturally?
This is because nature has provided us with the natural vocal mechanism to sing well and powerfully. It is when we adopt bad vocal habits as we grew older that the natural ability to be a good singer is lost and needs to be rekindled by good and correct vocal exercises and singing concepts.
One challenge to good singing is to combine a simple yet powerful singing technique with strong emotions. Powerful emotions can break down a voice that is not trained with solid singing skills and techniques as a foundation. The good singing technique is the foundation to build the emotional aspect of singing.
For instance, if you pour out all your emotions in a song, you will know that something does not sound right in the singing sound you produced. Pay attention to your inner feelings and you will know what sounds right or wrong.
Successful singing requires not only the will and ability to express your emotions in a song but also the correct singing technique and skills. Since emotions are channelled through your singing support system, your system must be fully developed for the emotion to come through powerfully and convincingly.
So to be a good singer, you must build your voice and the support system that produce that voice. With a good mastery of your voice mechanism, your own singing style and interpretation of songs will be much more enhanced. You do not have to be concerned about sounding like a copy of other good singers when you perform.
Yes, there are born voices, but there are no born artists. Each and every singer must develop his/her own individual skills to be an outstanding artist. It is not just how good a singing voice you have. It is what you can do with your individual vocal resources that is the crux of a good singer.
So getting introduced to a good singing teacher to help you to hone your singing skills to perfection is necessary if you want to be a good singer.
If you are looking for something a little new and different when it comes to dancing, have you considered Irish step dancing? I'm sure that many of you have heard of if not seen shows such as "Riverdance" and other shows that display this beautiful and unique form of dance. "Lord of the Dance" is another example of great Irish step dance though it brings a more modern twist to the audience.
If you haven't had the opportunity to experience this dance sensation live you should really make an opportunity to do so. This style of dance is like none you've probably ever seen before. It is beautiful and at the same time almost inconceivably difficult to make the moves that are required and show so little effort. The energy involved in these performances is nothing short of amazing.
Young and old alike are being taken by storm when it comes to this sort of dance. The music is inspiring and fun as are the steps and kicks that are done with such ease by the performers. If you are looking for a great way to get a good aerobic workout, see if there is a class in your area. This is a high energy form of dance and that should be remembered however you will get an excellent lower body workout in addition to the aerobic benefits. You will also burn a good many calories in the process.
This is a style of dance that simply looks fun. Whether you are watching or participating the excitement and energy level is almost visible. It is nothing short of amazing to be in the audience for one of these shows. It should be added that while not all Irish step dancing requires the skill and energy that is seen in the major productions such as the ones I've mentioned above, there is still a good degree of energy in all forms of Irish step dancing. This energy is what makes this style of dancing so appealing.
Young girls, teens, and women across America are discovering for themselves what a wonderful form of dance Irish step dancing really is. These classes are a little more challenging than some other forms of dancing may be because they require the steps to be made in line with other students in the class. You rely on each other and must keep pace with the music. It is a wonderful challenge that also helps students of this style of dance learn to work together in addition to developing and refining their own Irish step dance skills. There are solo dances but for the most vivid effect, these dances should be done as part of a larger group. It truly is a stunning sight to behold.
If you have a passion for music and energy then perhaps Irish step dancing classes would be a good mix for you and your fitness and dance needs. It is a beautiful style of dancing that is not only fun to watch but also fun to perform. You will work with a larger group and learn to work together for the greatest possible effect. Of all the styles of dance that are enjoyed around the world today, this is one of the most interesting forms of group dance I've ever encountered. If you want to be a part of something much larger than yourself, this is a great way to do just that.
The painting is described thus: "Ludwig van Beethoven was recognized as a child prodigy. He worked at the age of 13 as organist, pianist/harpsichordist, and violist at the court in Bonn, and had published three early piano sonatas. This portrait in oils is the earliest authenticated likeness of Beethoven." (Photo credit: Wikipedia)
Born in 1770, Ludvig van Beethoven was one of only three of his parents’ seven offspring children to survive infancy. Yet the world of music owes this chance event an immeasurable amount because he would go on to be one of a handful of composers to grace the art form with a style and quality that is truly unique. His father was his first music teacher, a proficient tenor, and his grandfather on the paternal side had been Kappelmeister at the court of Clemens August of Bavaria. Music was in his blood, and he started playing viola and organ at a very early age, although he was not a prodigy in the Mozart mold – despite his father’s attempts to declare that Ludwig was seven for an early performance when he was in fact nine. However, he was certainly a talented youngster and published his first three piano sonatas in 1783. He died in 1827 and it is said that as many as 30,000 people attended his funeral procession.
How Beethoven’s deafness has helped interpreters
Beethoven’s genius is merely underlined by the fact that he started to lose his hearing in his late twenties, yet continued through intense frustration and anguish to compose some of music’s most complex and beautiful pieces. For the historian and student of his music, however, the composer’s deafness created a unique opportunity to appreciate the composer. Because he could not take part in an oral conversation, he would carry with him notebooks and have conversations with people in writing. These people could be performers, conductors, students or masters, and the notes survive today to give a unique insight into not only the man, but his art, too – among his notes are specific instructions on how to play many of his compositions and descriptions of his emotional state and day-to-day life, all of which are priceless to the modern interpreter.
Beethoven’s major piano works<
Portrait of Ludwig van Beethoven when composing the Missa Solemnis (Photo credit: Wikipedia)
"A few years ago, at the Love Parade in Berlin, it took a very special form-a drum & DJ project called UNITED NUBIANS that spread the message of the "Black Pharaohs" to the club circuit. The project survived the occasion and today, on the dark stage, I sometimes travel home on a tribal house beat to the rhythms of my childhood. "
Mahmoud Fadl, the celebrated Nubian Master Drummer was born in 1955. He was raised in the cities of Assuan and Cairo in Egypt, and his Nubian background is rooted in the Griot culture of the "Battikol" people. Mahmoud started out as a musician at Nubian and Arabic wedding events as well as a limbo dancer. He soon became a much sought after commodity, playing with the likes of Ahmed Adawia and Nubian legend Ali Hassan Kuban. After a number of international tours, Mahmoud Fadl secured a place for his music in Europe and started to develop an international portfolio.
A cropped photo of the Egyptian Singer Umm Kalthoum who died in 1975 at 71 years old. (Photo credit: Wikipedia)
The Nubian people's legacy extends far into antiquity, predating Egyptian civilization. Some recent finds by French archaeologists have suggested that Nubia pre-dated Egypt by as much as 3,000 years and is, in all likelihood, the source of Egyptian civilization. The flooding of the Aswan dam, forced Mahmoud Fadl and thousands of Nubians to leave their homeland in Nubia, which is located today in Northern Sudan and Southern Egypt and drowned old Nubia and countless Nubian monuments and historical sites.
As a musical director, Mahmoud Fadl contributed to a four album project called "Salamat", released on Piranha records, which focussed on the music of the legendary and suppressed Nubian culture. He has four albums released under his own name and on one of them pays a Nubian homage to deceased pan-Arabian diva Umm Kalthoum, showcasing the voice of Salwa Abou Greisha from the famous Greisha family of Nubian musicians, with accompaniment from the Cairo Opera. Mahmoud's album "Drummers of the Nile", features ancient music from along the nile, and he collaborates with fellow drummers Gaafar Hargal and Hamdi Matoul, Nubian wedding diva Salma and many more musicians. He has also collaborated with The Klezmatics (New York), Orientalist piano player Maurice El Medioni (Marseille/Oran) and the famous gypsy saxophone player Ferus Mustafov (Skopje). Mahmoud also introduced western audiences to the distinguished grandmaster of oriental trumpet, Samy El Bably, on an alluring album called "Love Letters from King Tut-Ank Amen."
Today, Mahmoud travels between Cairo and Berlin working on various projects. His current tribal house project entitled "United Nubians" has earned him much international acclaim in the vibrant Berlin club scene. In addition to his work as a musician, film actor and fashion designer, Mahmoud Fadl frequently performs with the West-African Griot Ensemble, "Saf-Sap" on oriental wedding and musical workshops.
You can listen to Mahmoud Fadl and many more African musicians at Kemet Music Radio.
Trumpet in C, German model by Bernhardt Willenberg Markneukirchen
(Photo credit: Wikipedia)
The trumpet is a brass instrument with the earliest one found in the tomb of the Egyptian King Tutankhamen. Many people play the trumpet in brass bands, military bands, big bands, orchestras or on their own. You are thinking of learning a musical instrument. Will this instrument be the trumpet? You need information to help your decision?
What is a trumpet?
A trumpet is made from brass and is cylindrical in shape consisting of 4 feet 7 inches of tubing wrapped into the compact shape with a cup shape mouthpiece and a moderate size ball at the end. There is a variety of trumpets in the trumpet family. The modern trumpets we are familiar with today have three valves and were first made in the 1820s. Earlier trumpets did not have valves.
How is the sound produced?
The trumpeter or trumpet player produces the sound by:
1. Pressing the mouthpiece to his or her mouth.
2. Blowing air through closed lips making the lips vibrate.
3. The buzzing sound produced from this action sets the column of air inside the tube of the instrument vibrate.
4. The player regulates the sound produced by altering the tension of the lips.
Low sounds are produced when the player's lips are fairly slack making all the air in the tube vibrate.
Higher sounds are produced when the player tightens his lips thus making only fractions of the air vibrate. These higher sounds are called natural harmonics. Each tube produces a different set of harmonics depending on the length. This produces a limited range of sounds in one or two keys. To get a wider range of sounds the modern trumpet player can press down the three valves in a range of configurations which will open various extra lengths of tubing thus changing the length of tubing.
What does the trumpet sound like?
The trumpet has both a piercing, brassy sound and a soft, muted sound. It is more brilliant and penetrating than the bugle or horn. The tone of the trumpet can be changed when a mute is placed in the bell of the instrument. A mute is a cone made of cardboard, fibre, felt or metal.
The trumpet player reads music using notes placed on the treble clef, plays music faster than other brass instruments and plays notes ranging over two octaves from F-sharp below middle C to C above the treble clef, however, some trumpeters can extend this range.
Example of A Trumpet Piece
The Last Post is a well-known piece of music played by a bugle or trumpet player. It is a bugle call used at Commonwealth military funerals and ceremonies commemorating those who have fallen in war. It is used especially on Remembrance day in Commonwealth Nations and also on Anzac Day in Australia and New Zealand.
A bugle call is a short tune, telling one of scheduled and certain non-scheduled events on a military installation, battlefield, or ship. It consists of notes from a single overtone series and hence no valves need to be moved. One key may be favoured over the others.
Please note that a trumpet can play almost any type of music including classical, jazz, rock, blues, pop, funk.
Example of A Trumpeter
Louise Armstrong also known as Satchmo or Pops was one of the greatest jazz trumpeters of all time is. He was also known for his singing with a raspy singing voice and had a foundational influence on jazz. He was born August 4, 1901, in New Orleans, Louisiana. and died July 6, 1971, from a heart attack.
There are many other well-known trumpet players including Miles Davis, Dizzy Gillespie and Fats Navarro.
You have now had some basic information on the trumpet including what it is, how a sound is produced, what a trumpet sound is, types of music a trumpeter plays with an example and well-known trumpet players with an example.
For years, the Bach Stradivarius Trumpet has been the mainstay of the performing trumpet world. Sure, there were other trumpets out there, and in the Jazz world, many of them were very successful. In the classical world, the Bach reigned supreme for many years.
Today, the Bach is still the dominant instrument, but it has had its setbacks. The Bach strike a few years ago had a major impact in the Bach reputation. The strike lasted for a couple years, and many horror stories were told about poor quality trumpets being made after the strike. Also, the price increased substantially after the strike ended.
The end result of everything...the Bach trumpets made now are as good as they have been in many years, and many people think they are even better. I played on several trumpets at a convention recently, and they played better than any Bach I have played in years. I would not hesitate to recommend them right now. Bach trumpets have always played much different from horn to horn. In the past, you might get a good one, or you might get a great one. You seldom saw a bad one. A friend of mine remarked recently that even though the current crop of Bach trumpets all still play differently, they are all great horns. That is a definite positive change.
Since Bach was the predominant trumpet on the market, many companies produced trumpets that shared many of the same features. Yamaha started things with their Heavywall series...the 6335HS. The large bore version was the 6345HS. The "H" is very important in that designation. They also produced 6335 trumpets of totally different styles that did not use the "H" in the model number. These trumpets played more like a Bach, than any other trumpet up to that time, but it still did not have the Bach sound that most people liked in the classical world.
Yamaha later brought out the Xeno line of trumpets which is still made. Their model number is the 8335S. These are quite comparable to Bach trumpets. Yamaha is also considerably more consistent in their manufacturing processes. Yamaha trumpets pretty much all play the same.
The most recent addition to the Yamaha line of classical trumpets is the artist series. These are truly exceptional trumpets. Yamaha recently hired Bob Malone to design their trumpets, and he has totally revolutionized the line. These horns are some of the best available today.
The B&S Challenger line is also another option today in Bach-like trumpets, and it's a good one. There are quite a few professional players using them today, and depending on the current exchange rate, the price is often close the price of a Bach.
The Getzen custom line is also another option. The custom series is comparable to Bach and Yamaha instruments. Getzen has always been known for their valves. Once you try Getzen valves, you'll probably always like them.
There are many other copies out there, but for truly good Bach or Bach-like professional horns, this pretty much rounds out my list. They all play very well.
Harry Richardson has been a band director for 14 years with college degrees in trumpet performance and music education.
Clarinet with a Boehm System. (Photo credit: Wikipedia)
The clarinet is the second highest sounding instrument of the woodwind family which consists of flute, clarinet, oboe, and bassoon. It was invented by Johann Denner around 1690 and in the 1800's Klose adapted the Boehm flute system to the clarinet making it playing in all keys. It came into general use around the time of Mozart and beyond. Here is some information to help you decide if you want to learn the clarinet.
The clarinet has been made from a variety of materials including wood, plastic, hard rubber, metal, resin, and ivory. Grenada is a popular material used by professional musicians and most modern inexpensive clarinets are made form resonite ( plastic resin ). It looks like a long cylindrical tube with keys down the length of the tube covered by keys. The upper end is shaped like a mouthpiece and the lower end opens out like a bell shape. One side of the mouthpiece is flattened to allow the single reed made up of a single piece of cane to be fixed to it.
Clarinet players hold the instrument in front of them and produce a sound by blowing through the single reed on the mouthpiece, thus making the reed vibrate against the mouthpiece. The various sounds are created when the player presses down the keys and hinged rings such that movable pads cover the holes, in different configurations or finger patterns. The clarinet produces a mellow tone with a brilliant upper sound. The range of notes the clarinet can produce is over three octaves from E below middle C on the piano upwards to a C three octaves higher.
There are more than twelve types of clarinet with varying sizes and pitches, hence they make up the clarinet family. Many are rare or obsolete. The most common ones used today are the clarinet in Bb and clarinet in A. Both are used in orchestras depending on the key of the piece.
Clarinets are used in jazz and classical ensembles eg the orchestra, concert bands, in chamber groups, and as a solo instrument. They are rarely used in rock or pop music. There are usually two to three clarinet players in an orchestra each having different parts and changing between the clarinet in A and clarinet in Bb. A popular chamber group which the oboe takes part in is the wind quartet which consists of 1 flute, 1 clarinet, 1 oboe, 1 bassoon, 1 french horn. And it is combined with other instruments in various groupings.
Size comparison of B-flat curved soprano, E-flat alto, and B-flat tenor saxophones.
(Photo credit: Wikipedia)
If one is looking at purchasing a used saxophone, two presumptions or considerations may arise: first, that the person purchasing must get the item which will give him the best value for his money; second, that the person is using it for playing music. The importance of the second point is that saxophone, as a musical instrument, comes in different kinds. The difference lies in the music and pitch being produced by each type of instrument, sizes, and shapes, as well as considerations which are related to the skill level of the player of the instrument.
Therefore, to be able to make the best decision as to which saxophone best suits any player of the instrument, it is important that one has a working knowledge of the different types of saxophones as well as the corresponding differences that distinguish one from the other. In doing this, one can effectively discriminate and choose the saxophone that best suits him.
There are generally four types of saxophones available in the market today. The first type is called the soprano saxophone. The soprano saxophone is tuned in the key of B flat (or Bb). It has the highest tune or pitch among all the other types of saxophones. Consequently, playing the instrument requires some skill because the pitch, being high, is more difficult to manipulate and manage. Therefore, most of the players of this type of saxophone are already adept at playing the instrument and are what can properly be considered as professional saxophonists.
The second type is the Alto Saxophone which plays at the key of E flat (or Eb). The position of this type of saxophone's bell allows its player to hear more of the sound produced by the instrument than by the other saxophones played. Most pieces composed for practice are also tuned in the key of Alto Saxophone. Consequently, it is considered as most befitting beginners and anyone whose skill level in saxophone is elementary.
The third type would be the tenor saxophone. It is larger than the alto saxophone and the sound it produces is closer in range to the human voice. This is also the best type of instrument for playing jazz and some rock.
The fourth type of saxophone is the baritone saxophone. It has the lowest range among the other types of saxophone and is usually used in the bass section in soul music or tunes. It is also the biggest and heaviest among all the other types of saxophone.
All of these types of saxophones are best in their own respect. One just needs to identify precisely the use of the saxophone to be played or purchased. So if one is a beginner, it is strongly suggested that he starts playing the alto saxophone first. It also depends upon the sound that the player is most interested in. If one prefers to play jazz tunes, then the tenor saxophone is recommended. But if one is more into bass range sound, richer and deeper tone then the baritone is the best choice.
One may also take into account the size and the weight of the saxophone which will affect its manageability and overall comfort in playing the instrument. There are, of course, no hard fast rules applicable in determining the best type of saxophone. The person has to weigh in different factors in the process of trying to get the saxophone which is just right for him.
In the hierarchy of musical priorities, dynamics have often appeared to me to be relegated to fairly low niche and left there to languish, their immense potential for beauty and expressiveness being overlooked and ignored. Even in recordings of professional orchestras, it is not at all unusual to hear a crescendo or diminuendo begin and end without any unified idea of where it is heading. Concerts or recordings where the music making is otherwise of a very high caliber all to often approach the dynamics with far less care and intelligence than other musical matters.
Every musician knows what dynamics are and will tell you that when they see an mf on the music, by golly they play mezzo forte! And when they see a crescendo to an fff, watch out, buddy!
Crescendos (or crescendi, for our purist friends) seem to bring out a primal Darwinian, survival of the fittest impulse in many of us. If you can do it, e.g. low brass, most percussion, etc., then do it. If you can’t, e.g. low register flutes, middle register clarinets, etc., then get out of the way. It is quite understandable. After all, you flutes and clarinets get all the great melodies and technical calisthenics while we timpanists and trombonists are stuck back here counting rests. So, when we are finally allowed to speak, our voices will be heard! Then to our delight and to the delight of our audiences, excitement happens! Everybody wins, right? Absolutely. The only casualty is the music.
I don’t wish to claim any tremendous pre-eminence in this area, but I have listened to what others have to say on the topic and have explored a number of approaches on my own. I also don’t wish to suggest that any of my findings are original with me. Au contraire, anyone with keen musical sensitivities would be very apt to make similar explorations and discoveries on their own. So with your kind indulgence, perhaps we can investigate a few of these principals together. If you find something here that might squeeze your own creative juices, then my fondest hopes will have been realized. If not, then I recommend you demand a full refund from the author.
Why don’t we continue flogging the subject of the crescendo for just a moment or two? Most of them seem to have a destination or a specific point in the music when the energy and momentum gathered by it is released in a heightened moment of drama or intensity. Obviously, for the full dramatic potential of the passage to be realized, there has to be general agreement exactly where and when that moment will arrive. If a few people in the ensemble peak on the crescendo prematurely the effect is spoiled, and the audience slinks out of the hall feeling violated and unclean.
A question that is too rarely asked is, “What should the shape of the crescendo be?” The written symbol has two converging straight lines, yet in most instances, to shape the crescendo like a trumpet bell would be musically and dramatically much more effective, i.e. very little crescendo at first, then gradually increasing the volume, saving the final 50% of the crescendo for the last 10% of the passage. You may wish to experiment with this idea in a few select passages to see if you agree with the results. My guess is that you will be heralded as a genius and promoted at least as high the custodial staff.
Another oft-neglected question is, “Who should crescendo when?” May I offer a suggestion here, also?
A typical passage containing a crescendo might consist of the melodic material in the upper voices, the harmonic or accompanimental figures in the middle voices, a bass line, and some rhythmic figures in the percussion. If you were to encourage the melodic instruments to begin the crescendo first and the accompaniment to construct their crescendo entirely in support of the melody, but never upstaging it, you will find that the melody will maintain its primacy. Now, if through coercion or perhaps even bribery, you can appeal to the percussionists’ better angels and make them aware of the ever-present danger of premature gesticulation, you may have created the ideal crescendo. If the percussionists save a solid 80% of their crescendo until the last couple of beats before its apex, they will provide the perfect dot for the perfect “i” and prove once again, even to the most skeptical, that, except in certain one-on-one disciplinary actions, intelligence and sensitivity trump brute force every time.
It is my fervent hope to continue to lobby for the liberation of the crescendo. If there is any true justice I have recruited you to become a like-minded zealot to this noblest of causes.
Any comments about your own glorious victories you might wish to contribute would, no doubt, serve as an enduring inspiration to us all.
Carl Hammond Ph.D. composes all sorts of music, plays piano, and as you've seen writes a mean, entertaining article. He's the CEO of http://www.musicalcompositions.net where you can download purchased sheet music for concert bands, choirs, chamber ensembles, jazz groups. See it, hear it, download it, rehearse it. FREE Newsletter and FREE Special Report written by Carl Hammond a 35-year international music veteran.
Well written interesting music for your groups to play right now via download. Score pages, MP3s to help you decide suitability.
Do you feel frustrated or unfulfilled with the songs you have written? Do you think your songs have to conform to a certain standard before they are any good? If so, what exactly are you comparing them to? You may find you have an unrealistic expectation of yourself or what you think a song is or should be.
If you are unhappy with the songs you have written or think your songs are not what they should be, examine these three songwriting tips to focus your attention on clarifying what you think you want to gain from your songs.
1./ Why Do You Want To Write A Song?
What do you want to communicate? Don't dismiss this, answering this question is more important than you think. If you know why you are doing something, your path will be a lot clearer. For instance, do you see yourself performing on some late night TV rock show with the audience going wild for more, or do you want to write a romantic love song to impress your partner? Or maybe you want to perform an acoustic set down at the local bar? The answer will influence your behaviour and your writing style.
2./ Write About What You Know And Do What You Know.
Do you know how to put chord progressions together on the piano and improvise over the top or do you know how to link drum machines and turntables together to a whole plethora of midi equipment to pump out the biggest, worst beats this side of Georgia? There is no difference. Your song will have more style and impact if you can find the courage to be yourself and use those talents you have today, not in what you think you should be doing, or what your song should sound like.
How are you coming up with your ideas? Repetition increases the likely hood of repetition, that means the more you do something, the more you are likely to do it. The more you get into the habit of writing down lyrics in a notebook that you carry with you at all times, the more likely you are to write down lyrics in a notebook that you carry with you at all times. Get into the habit of writing down your thoughts when your inspiration strikes because ideas always strike when you least expect them.
Your inspiration could be in the form of a lyric, a sound you heard in the street, an unusual chord change you heard on the radio or a rhythm your mum was tapping out on her coffee cup. By doing this, you can consult your own wisdom as and when you need it. These are the gems that will determine your style and show you your way forward.
Disciplining yourself to these three songwriting tips will give you confidence in yourself and your music. Realize that to write a song, you do not need to be anybody other than who you are, beauty is in the eye of the beholder. Whether you are beating out a rhythm on a pair of spoons or bowing an upright punk guitar accompanied by someone tap dancing in a different time signature, songwriting is subjective. Someone somewhere will love whatever you do, someone somewhere will absolutely trash it as the most unbelievable pile of garbage to ever appear on the music scene in the history of music. The most important question you need to ask yourself at the end of the day is, do you like it?
Sheet music of composer W. J. D. Leavitt. Three piano pieces, including 'Villagers Dance.' Published 1884, dedicated to Miss Grace E. Leavitt. (Photo credit: Wikipedia)
A sheet music is a form of musical note either in a printed form or is hand written. There are many musical notes that are kept in a booklet. Generally it is a normal sheet with musical notes written over it for concerts. When musicians play or take part in concert then they require these sheet music so that they can read the notes and play the music because a concert generally has more than 30 musical notes. These sheet music helps in recalling them the music they have to play.
With development of technology these days these sheet music notes are also available on the internet which can be downloaded and kept on the computer screen. Many big directors and movie makers use the computer based sheet music to add musical notes in movies. Music composers make music notes and write it on paper. These become sheet music and are complied in the form of a pamphlet or a booklet. A sheet music is different from a recoding therefore the word sheet is used to imply music notes on paper either printed or written in hand. If we see any musical concert we will see a booklet with sheet music placed on the podium for quick reference.
Portrait of a Musician, detail: hand and sheet music booklet (Photo credit: Wikipedia)
A sheet music has many terminologies which we should be familiar with. Score is one word which is very commonly used in sheet music. Sheet music can be used as a form of guidance, for concert to perform. In fact many music schools teach their students how to write musical notes on the music sheets. These days unlike the older version of sheet music the modern format of sheet music is different. Generally when a single person is playing or performing then there will be one sheet music but if there are multiple players performing then each person has a separate sheet music and each person concentrate on their own part. Generally there are many musical stores that print famous music notes on sheet music and then publish it.
Sheet music is really very helpful as they help in remembering music notes and by reading sheet music we can slowly but gradually we can read music notes too and make our own music. Once we become experts then we can create music and write our own music on music sheets. Every singer has his own sheet music and it differs from person to person how they write their music pieces. Sheet music is generally seen kept over pianos.
Pianos have a stand to place this sheet music so that we can easily read them in front of us while playing the piano.
Generally people learning music too can write their music pieces on sheet music and refer it later to practice. We just need to know how to read these music pieces so that we can write it and refer it later for practice till we perfect it. So just keep writing on sheet music and keep filling your music booklet with your music pieces.
Mary Ashley is the author of this article on Piano Music. Find more information about Piano Playing here. Article Directory: Article Dashboard
As with the studying of any musical instrument, learning oboe is all about technique. There are a number of technical aspects related to playing the oboe which needs to be understood and applied if you are to become an oboist. The human body was not designed to play musical instruments. Instrumental technique is, therefore, the way in which we overcome the body’s resistance to what we are forcing it to do.
This article is aimed especially at oboe for beginners and will explore five particular areas which need to be carefully developed. These are Posture, Breathing, Embouchure, Tonguing, and, finally, Hand & Finger Position. Both the understanding and application of these aspects are vital when learning oboe.
Posture Good posture is the basic foundation on which everything else is based; - bad posture = bad oboist! Good oboe technique requires that the feet are about shoulder-width apart with the weight evenly distributed. The head should be upright and the oboe raised to an angle of about 60 degrees.
Breathing This is the most important single technique of all, especially as we are looking primarily at oboe for beginners. Breathing must always be from the diaphragm, not the chest, and breaths should always be taken through the mouth, not the nose. Shoulders should remain level and relaxed throughout and not lifted. Slight dizziness is experienced by some young oboists as their bodies get used to the deep breathing so important to oboe playing.
Embouchure This is the term we use for the way we form the mouth when playing. The oboe embouchure always looks very tight to the unknowing eye, but, in fact, is very relaxed around the reed. The pulling back of the lips is simply to bring the muscles around the edge of the mouth into contact with the reed. The oboe reed cannot be controlled with the red part of our lips. Beginner oboe players often experience a slight burning sensation in their cheeks. This is just muscle tiredness.
Tonguing on the oboe produces a clear and precise start to each note. The tongue touches the tip of the reed and interrupts the air flow. As the tongue pulls away, as if pronouncing a “Tuh”, it allows the air to rush into the reed making the cane vibrate and producing the sound.
Hand & Finger Position This is very important for young oboe players when their hands are still rather small. If you let your hand hang passively at your side you will see the hand at its most relaxed with the thumb straight and the fingers slightly curved. This is the shape we are trying to replicate when playing.
So, as with any instrument, learning oboe requires a methodical approach which puts the acquisition of good technique first. Although this article gives a brief outline of the basics of playing the oboe, I would recommend a proper course of oboe tuition with an experienced oboe teacher. This is especially important for young oboists.
If you can develop fully the techniques necessary and learn to play the oboe well, you will have a skill which will enhance your life as a player of one of the most beautiful of all musical instruments.
Robert Hinchliffe is a professional oboist, composer, teacher, conductor, and music director. This article is based on over 35 years of both playing and teaching the oboe. If you have found this article helpful and would like to know more, please visit http://www.oboeplaying.co.uk.
Portrait of Georg Friedrich Händel Photo credit: Wikipedia)
With his "Messiah" Georg Friedrich Handel (1685-1759) created his most widely acclaimed and most popular composition. No other oratorio has received so much general admiration. One of the reasons is certainly the amazing richness of content, the depth and variety of the musical expression and in the unprecedented grandness of the artistic creation.
Charles Jennens, a well-known art lover, compiled the textual part, which in itself is a masterpiece in form and construction, from quotations of the original, English text of the Bible. To what extent Handel himself was involved in the compilation is not documented but the influence on the lyrics' character is undeniable.
The storyline is developed along a line of images that depict the life, passion and the resurrection of the Saviour, who is announced in the Old Testament.
Portrait of Charles Jennens (Photo credit: Wikipedia)
Assuming the actual content as known, it uses the names of the solo parts, marked only with the voice they are written in, and thus avoids the introduction of any real person that could lessen the sublime effect of the religious text.
According to his own words, Handel composed the music to the "Messiah" in London in only 24 days. He started August 22nd and finished on September 14th, 1741. As the oratorio was firstly composed for Dublin, it was adapted to rather modest conditions Handel had to meet there. The choirs were written for just four voices and the orchestra limited to a smaller range of instruments than was common in London.
After Handel's arrival in Dublin on November 18th, he organized twelve concerts within the next 5 months, and let the much-awaited new oratorio be announced in April, to be performed in support of three different charity institutions.
The final rehearsal taking place on April 8th, Handel himself conducted the first performance on April 13th, 1742 at the Dublin "New Music Hall". The success of the oratorio turned into a triumph for the composer. The first London performance took place in March 1743 at the Covent Garden theatre, after many changes and additions to the score. Handel organized during the years of 1749 to 1758 annual performances at Easter in support of a London orphanage, these were continued with undiminished success even after his death. The first German performance took place at a private concert in Hamburg in 1772.
Lynyrd Skynyrd - Sweet Home Alabama (Photo credit: Wikipedia)
The song "Sweet Home Alabama" by Southern rock legends Lynyrd Skynyrd (Pronounced Leh-Nerd Skin-Nerd) is one of the most popular and controversial rock songs in history. The song first appeared on the band's second album, Second Helping in 1974. Sweet Home Alabama was the bands first hit single, reaching the top ten of the US charts in 1974.
Lynyrd Skynyrd's hit song makes references to the songs "Southern Man" and "Alabama" by Neil Young, defending Young's statements in those song's lyrics regarding the South's racism in their historical treatment of black people. Despite popular belief, there was no rivalry or feud between the artist-- more so the opposite, in mutual respect for each other.
In addition to the song's defense of the south, the song contains some controversial political references, mainly a verse in the song that possibly references segregationist George Wallace. Whether or not the true intent of the verse by the song's writers was to support racism has been debated on both sides of the argument. The National Review ranked the song number four on its list of 50 greatest conservative rock songs in May 2006.
